This presentation is the overview of Radio Broadcasting and new trends.

1. 1
Overview of Radio
Broadcasting
&
New Trends
By Meenakshi Singhvi
DD(E), AIR, Vadodara

2. 2
Categories of broadcasters
MW & FM
Transmitter
Sound Acoustic
Mike
Console
Digital Audio Workstation
Telephone hybrid
New Age radio systems

3. Radio broadcasting is a one-
way wireless transmission over radio waves
intended to reach a wide audience.
• Low cost,
• wide reach and
• mobile receiving sets,
• Most effective medium of communication.
3
RADIO Broadcasting

4. Radio In India
• AIR today has a network of 408 broadcasting centres
with 148 medium frequency (MW), 54 SW and 206 FM
transmitters.
• During the first phase of expansion of FM Radio(1999)
108 FM channels were offered in 40 cities. However,
only 22 channels could become operationalised in the
first phase.
• The Government, in July 2005, notified a policy for the
introduction of 337 private FM stations in 91 cities.
Today, as many as 263 private FM channels are
operational in 87 Cities.
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5. 5
Categories of Broadcasters

6. Categorization of stations
• Medium Wave stations
• FM Stations
• Short Wave stations
6

7. It employs AM technique. AM is a technique to send
information through radio waves. The MW band
stations usually of very high power and signal reach
many hundred kilometers. The early stations are
belonged to this category.
MW Station
Propagation Modes
Ground-Wave
Medium waves (531-1602 KHz)
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8. 8

9. Frequency Modulation is also a technique to mount
information on radio waves. The FM technique provides
better quality reception than AM but reception is limited
to line of sight (around 70Kms to 80Kms). Even though
the FM technique evolved along with AM, it gained
popularity only after inventions of transistors in 1960’s
due to the complexity of its transmitters and receivers.
FM Stations
FM (88 Mhz to
108 Mhz).
9

10. The Short Wave hugely popular in 70’s, are employ
AM but uses different wave propagation methods.
The signals send to ionosphere and reflected back to
surface of earth. This way signals can travel from one
continent to another (means thousands of
kilometers). A very few Short wave stations are
currently functional.
SW Stations
Short waves or HF (3-27 MHz)
10

11. • FM support greater audio bandwidth (leading
to stereo and higher audio frequencies).
• FM is superior in immunity to environmental
influences.
• Value added services possible in FM
• Uniform day and night coverage in FM
• AM requires a simple circuit, and is very easy
to generate.
• The area of coverage of AM is greater than FM
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AM vs. FM

12. A RADIO
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13. 13
What consists a Radio Station?
STUDIOS
TRANSMITTER
13

14. Transmitter, modulates these audio
signals (information) on high frequency
carrier wave and then this modulated
and amplified wave is transmitted
through an antenna.
Function Of Transmitter
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14

15. 15
• The transmitters usually located away from city
because they are emitting a lot of radio waves.
• Links always required to connect the studio sites
and transmitter sites.
• The AM transmitter sites requires a lot of space to
house its transmitters and huge aerial fields whereas
FM transmitters require much less space because
they operate at low power levels.
• The FM antennas usually locates on very tall towers
to ensure the that signal reach maximum area.
Transmitters

16. 16
• Major components in a transmitting chain
consist of
– Transmitter,
–Antenna,
–Feeder Cable and
–Tower.
Transmitting Section

17. 17
STUDIO CUM TRANSMITTER BUILDING
ANTENNA CABLE
LESS THAN 50 METER GUYED ANTENNA TOWER
ANTENNA

18. Studio Transmitter Link
• Normally broadcast programmes originate
from the studio centre.
• It is routed to the transmitting centre
• Through studio to transmitter Microwave links
or Digital leased lines.
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20. 20
• Broadcasting refers to mixing sound from
various sources like microphone or cassette and
sending the sounds to the transmitter and the
antenna elements to go out on to the listeners.
• Production refers to mixing sound from various
sources and putting them onto a format like
cassette, minidisk, like a wave file in PC for
broadcast at a later time.
Studios

21. 21
Studios
The size of the centre and the number of studios
are related to the programme activities of the
particular Radio Studio centre. The studio centers
in AIR are categorized as below depending upon
the programme generation/transmission
requirements.
– Multipurpose studio
– Type I Studio or normally called as Type I (R) studio.
– Type II (R) Studio.
– Type III (R) Studio.
– Type IV (R) Studio.

22. 22
Studios
• The number of studios provided in each type are
different. In a Multipurpose Studio Centers, the
facilities provided are less than in Type I (R)
Studios, whereas in Type II (R), III (R), and IV (R)
Studios, the facilities provided go on progressively
increasing.
• Normally multipurpose studios are provided at
local Radio Stations and minimum Type III (R)
studios for capital stations. Type IV (R) Studios are
provided mostly in all metropolitan cities and
stations which dictate increased programme
activities.
• ALL India Rdaio, vadodara is a Type II studio
setup.

23. 23
Studios
• The different types of studios normally
available in a Radio Studio Centre are
– Talks Studio
– Music Studio
– Drama Studio
– Playback Studio (generally called ‘Gramo Studio’)
• The size, shape and acoustic treatment and
hence the ‘acoustic quality’ of each of the
above varies according to the requirements of
each type of studio.

24. Broadcast /Play Back studio
• This is the primary studio for any station, the
place where the programme audio is
broadcast from and the programme
presenter (or compere) sits. This is called as
the 'live' studio, from where audio is played
out to the transmitter.
24

25. Production studio:
• This is the space where recordings can be
done, and programmes edited and refined for
later broadcast. The production studio is
having announcer booth and artist booth.
Both are separated by a sealed glass window
which allows visual communication between
artist and recordist by maintaining
soundproofing on both sides.
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26. 26

27. STUDIO CHAIN
Playback Studio Multi Purpose Studio
Control Room
Transmitter Hall
Recording Studio
Transmission console Mixing console Mixing console
Switching console FM Transmitter
To Regional Station
Satellite Receiver

28. Control Room
Control Room is the focal area at which all the technical activities in a
studio centre converge. Engineers in the control room have overall
responsibility for the technical operations in the studio set up, for
switching of broadcast feeds to the transmitting centre and incoming
feeds from external sources.
– to receive programmes from each studio and from external sources
like the radio-networking terminal, OB spot, etc.
– to distribute the programme to respective transmitters, other radio
stations, satellite up-link facility or to any other destination.
– The control room set-up is primarily an electronic switching system.
This has provision for continuous monitoring of the on-going
programmes and to control their audio levels. The audio levels are
carefully controlled, as too high a level will cause distortion and also
overload the transmitter. On the contrary, too low a level will cause
poor signal-to-noise ratio and, ultimately, poor reception in the radio
sets.
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29. 29

30. Why acoustic treatment
• Sound waves emanating from a sound
source propagate in all directions
• waves are subject to reflection, absorption and
refraction on encountering an obstacle.
• sound waves would reflect and re-reflect till
intensity weakens.
• These reflected waves can create echo effect in the
room.
• To achieve the desired effect of the reflected sound
the dimension and shape of the room are decided
with due care and acoustic treatment is provided
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31. 31
• The first step to acoustic treatment is the isolation of the
studio from outside noises.
• Soundproofing minimize the level of sound that passes
through the walls, by blocking them with heavy, dense
building material. It involves the isolation of that room
from audible sound from the outside.
• Internal treatment is provided to the room to
control sound reflections WITHIN the room, to make
better sounding recordings by absorbing excessive
ambience.
• Control of reverberation time (RT) to maintain original
quality of sound inside a studio.
Why acoustic treatment

32. Soundproofing
• The required amount of noise isolation and reverberation are
achieved in studio by:
– double door entry (sound lock area); "room within a room"
approach
– covering the studio walls with acoustic material, and the
flooring with linoleum or thick carpet;
– designing the door seals and observation windows in such a
way as to prevent leakage of sound;
– reducing air velocity through air-conditioning ducts and lining
the ducts with sound absorbent material;
– constructing the studio walls in a non-parallel fashion (unlike
normal rooms) to prevent multiple reflections;
– Partitions made of light board, such as plywood, usually need
to be doubled, with a space in between that can be filled with
sound-deadening material, and spaces around doors need to
be sealed with rubber strips. 32

33. 33
• With the advent of digital technologies, most studios
use a combination of traditional analogue equipment
and newer digital technologies.
• Analogue equipment like cassette player/recorders
• Digital components, like a CD player, computer,
minidisc and digital mixers. In general, analogue and
digital equipment can be used together.
Introduction to Equipments

34. 34
Microphones are a type of
transducer - a device which
converts energy from one
form to another.
Microphones convert
acoustical energy (sound
waves) into electrical
energy (the audio signal).
Microphone

35. 35
 Different types of microphone have different ways of
converting energy but they all share one thing in common:
The diaphragm. This is a thin piece of material such as
paper, plastic or aluminium which vibrates when it is struck
by sound waves.
 When the diaphragm vibrates, it causes other components
in the microphone to vibrate. These vibrations are
converted into an electrical current which becomes the
audio signal.
 At the other end of the audio chain, the loudspeaker is also
a transducer - which converts the electrical energy back
into acoustical energy.
Microphone

36. • The way that a microphone picks up sound from
various directions is known as its pickup pattern.
The types of directionality are divided into three
main categories:
– Omnidirectional
Picks up sound evenly from all directions (omni means
"all" or "every").
– Unidirectional
Picks up sound predominantly from one direction.
This includes cardioid and hypercardioid microphones
(see below).
– Bidirectional
Picks up sound from two opposite directions.
Microphone

37. Omnidirectional
Its primary uses are for Capturing ambient noise;
Situations where sound is coming from many
directions; Situations where the mic position must
remain fixed while the sound source is moving.
Omni sound is very general and unfocused - if you
are trying to capture sound from a particular subject
or area it is likely to be overwhelmed by other noise.
Microphone
It is characterized by strong sensitivity to audio from
the front of the mic, good sensitivity on the sides.
It is popular in both studio and live use where rear
rejection cuts down on feedback and ambient noise.
Cardioid mics are used for a very high percentage of
microphone applications.
Cardioid pattern mics

38. Bidirectional or Figure-8 Microphone
The polar pattern in which the mic is equally
sensitive to sounds picked up from front and
back, but not sensitive to sounds on the sides.
It is useful in an interview with two people
facing each other with the mic between them.
Microphone
Variable Directionality pattern mics
It allows you to vary the directional
characteristics by selecting omni, cardioid
or shotgun patterns.

39. 39
A good mixer is the heart of
the studio, allowing you to
combine a variety of inputs
and manage the audio levels
of the various sources and
mics. Each of the sources is
connected to a separate
channel for independent
control, each of which has a
sliding fader that allows you
to raise or lower the level of
the audio signal feeding
through that channel.
Mixer

40. 40
• A mixer performs three basic functions- Mixing,
routing and processing.
– The term mixing means summing signals together, this is
normally done by a dedicated summing amplifier.
– Routing section in mixers allows the routing of source signals
to internal buses or external processing units.
– Audio mixers process the signals by adjusting the level, timbre
and audio effects.
 The number of sources and mics you have in the studio usually
decides the number of channels you need on the mixer - but 4 to
8 channels should be fine for most mid level stations.
Mixer

41. SETUP IN STUDIO
Audio
Sources
Microphon
e
Audio Workstation
CD Player
Satellite Receiver
Console
Mixed or
selected Audio
Output
Audio
distribution
Amplifier
Audio Workstation
Control Room
Monitoring
Speakers

42. Fader PFL
Routing
Switch
Line/mic Selection
AudioSources
Microph
one
Audio
Workstation
CD
Player
Satellite
Receiver
Input modules
Output modules
Master 1 out
Master 2 out
Audio console block diagram
Monitoring modules

43. 43
 It is an analog recording machine.
 A length of plastic tape coated
with a magnetically sensitive
material is used.
 During recording, the record head
encodes a representation of the
incoming audio signal in the tapes
magnetic material.
 During playback, the play head
reproduces an audio signal from
the magnetically encoded
information on the tape.
Analog Tape Recorders

44. 44
A DAW (Digital Audio Workstation) is a
computer system capable of recording and
processing digital audio.
 Sound card: Perhaps the most important part in recording
computers. Standard desktop computers rarely come with
a good enough sound card for recording purposes.
44
Audio Workstation
The brain in any modern radio studio is a computer.

45. • The primary considerations for a DAW are:
– processor speed
– Hard disk capacity
– Good motherboard with plenty of inputs and outputs
– High quality sound card, ideally with a 'breakout box'
that lets you connect
– A good quality monitor as large as is reasonable
– As much Random Access Memory (RAM) as can be
afforded
– Audio editing software
– Ability to connect a variety of field recorders directly
to the DAW for transfer of audio 45
Audio Workstation

46. • The sound cards works with the
help of dedicated chips that
process the audio directly,
which frees up the CPU to focus
on running other applications.
– An analog-to-digital converter
(ADC)
– A digital-to-analog converter
(DAC)
– Interface to connect the card to
the motherboard
– Input and output connections for
a microphone and speakers
Audio Workstation

47. 47
• Computer software now exists that allows
programme producers - at separate terminals
simultaneously - to select the material they want
from the hard disk and mix and edit it into a
programme.
– Adobe Audition
– Soundforge
– Audacity
– Netia
Audio Workstation

48. 48
One of the best ways to get your listeners involved in
the programme is to give them an opportunity to call
in during the programme, so that they can also
participate in the programme.
To get your callers on air, we require a telephone
hybrid unit - It's important to think about how many
telephone lines we want to have for callers to call in
on.
Telephone hybrid

49. 49
• As part of the monitoring and grievance redressal
mechanism, many governments and adjudicating
bodies make the recording and storage of all the
programmes broadcast over a given period of time
preceding any given date mandatory.
• In India, it is mandatory to record and store each
programme for a 3 month period from the date it is
broadcast: This is so that the programme may be
produced before the adjudicating committee if
someone files a complaint about the content.
Broadcast recording devices
Audio Loggers

50.  Satellite radio
 Internet Radio
 Digital Radio
New Age Radio
50

51. Satellite radio
Satellite radio is a radio service broadcast
from satellites with the signal broadcast
nationwide, across a much wider geographical
area than terrestrial radio stations, while
transmitting higher quality sound.
It is available by subscription, mostly
commercial free, and offers subscribers more
stations and a wider variety of programming
options than terrestrial radio.
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52.  Satellite radio broadcasters are slowly emerging, but the
enormous entry costs of space-based satellite transmitters, and
restrictions on available radio spectrum licenses has restricted
growth of this market. In the USA and Canada, just two
services, XM Satellite Radio and Sirius Satellite Radio exist.
 A satellite radio is basically a digital unit that receives signals
broadcast by communications satellite. This allows a person with
a set to follow his favourite stations anywhere in the country
unlike the terrestrial radio (AM and FM) whose signals are
limited to a certain area depending on the power of the station.
 Some of the advantages of a satellite radio are that the sound is
of digital quality and there are no commercials. But it is not for
free, it is available on subscription for a fee. In addition to the
encoded sound, the signal contains information about the
broadcast. The song title, artist and genre of music are all
displayed on the radio.
Satellite radio
52

53. Satellite radio
• The key components :
– Satellites
– Ground repeaters
– Radio receivers
• Satellite radio works a lot like
satellite TV -- you purchase a
receiver and pay a monthly
subscription fee for a certain
number of channels.
• In urban areas, where
buildings can block out the
satellite signal, broadcasting
system is supplemented by
ground transmitters. 53

54. Internet radio (also known as web radio, net radio,
streaming radio and e-radio) is an audio listening
service transmitted via the Internet. Music
streaming on the Internet is usually referred to as
webcasting since it is not transmitted broadly
through wireless means.
Traditional radio station broadcasts are limited by
two factors:
 the power of the station’s transmitter (typically 100 miles)
 the available broadcast spectrum (you might get a couple
of dozen radio stations locally)
Internet radio has No geographic limitations. The
potential for Internet radio is as vast as cyberspace
itself
Internet Radio
54

55. • In comparison to traditional radio, Internet
radio is not limited to audio. An Internet radio
broadcast can be accompanied by photos or
graphics, text and links, as well as interactivity.
• The cost of getting “on the air” is less for an
Internet broadcaster and Internet radio can
appeal to “micro-communities” of listeners
focused on special music or interests.
Internet Radio
55

56. Internet Radio Pros & Cons
• Simple
– Only requires a computer, the
internet, and a media player
• Little or no cost
• Some stations require a
subscription fee, but almost
all of them do not
56
• Digital Divide
• Anyone can have a station
• Piracy, bootleg copies of
music
• Little Censorship laws

57. 57
All India Radio Live
All India Radio Live App
AIR’s official app “All India Radio Live” offers a bouquet of infotainment & Public Service
rendered in Hindi, Urdu and some major regional Indian languages to cater to the intense
media needs of mobile-wielding listening public in India and abroad. It cares for nostalgic
Indians living far away from territories where their mother tongue is spoken, folk-lore
enjoyed and communication idiom used as tool of effective expression. The app knits
Indians cutting across geographical boundaries.

58. • Digital radio describes radio technologies which carry information
as a digital signal, by means of a digital modulation method.
• The aim is
– to increase the number of radio programs in a given spectrum,
– to improve the audio quality,
– to eliminate fading problems in mobile environments,
– to allow additional datacasting services, and
– to decrease the transmission power or the number of transmitters
required to cover a region.
• Digital radios are also easier to tune — instead of fiddling with a
dial to find the strongest frequency for a station, listeners will be
able to choose a station by name from a menu, with the digital
radio automatically locking on to that signal
Digital Radio- Sound of the Future
58

59. • Digital radio has the potential to offer better sound
quality that's better than FM — and much, much better
than AM — and it is interference free.
• Extra Information can be sent along with sound on a digital radio
transmission, listeners with LCD screens can receive information
such as what song's currently playing, what station they're on,
simultaneous news feeds, phone numbers that correspond to the
ads they're currently listening to and much more.
• Unlike digital television, which can be seen on your existing TV
with the addition of a set top box, you'll need a brand new radio
to be able to listen to digital transmissions.
Digital Radio- Sound of the Future
59

60. ROAD MAP FOR DRM
TRANSMISSIONS IN INDIA
60

61. All India Radio adopted DRM for digital broadcasting.
• Digital Radio Mondiale (DRM) is the universal, openly standardized,
digital radio system. The DRM standard has been used for several
years to broadcast digitally on Frequencies below 30 MHz
(shortwave, mediumwave and longwave). Also there is now the
extended standard DRM+ which make it possible to broadcast on
frequencies above 30 MHz. This will make it possible to digitalize
transmission on the FM-band. Successful tests of DRM+ has been
made in several countries
• DRM has near-FM sound quality plus the ease-of-use that comes
from digital transmissions. The improvement over AM is immediately
noticeable. DRM can be used for a range of audio content, and has
the capacity to integrate text and data. This additional content can be
displayed on DRM receivers to enhance the listening experience.
DRM Transmissions in India
61

62. DRM Transmissions in India
 DRM is compatible with existing AM bands (spectrum
usage) and services and with other radio services . DRM
operates within existing spectrum allocations.
 DRM provides an easy path of migration from analogue
to digital broadcasting for a significantly large number of
DRM compatible medium and shortwave transmitters
in the AIR network which can be easily converted for
DRM operation
 DRM thus maximizes re-use of existing transmitters and
transmission facilities
62

63.  DRM Trials in India were carried out in Delhi from 8th to 12th
May, 2007 in MW band. Encouraged by the trial results, All
India Radio decided to go for DRM trials in shortwave band
also.
 For the implementation of DRM in Shortwave, Thales make
250 Kilowatt short wave transmitter at High Power
Transmitter Complex of All India Radio at Khampur ( near
Delhi) was modified to make it DRM compatible. And service
has been formally launched on 16th January, 2009
 Approximately five hours of transmission are beamed
towards listeners in the UK and Europe between 2315 to 0400
IST on 9950 KHz, with an additional three hours of local
transmission within India from 1430 to 1730 IST on 6100 kHz.
DRM Transmissions in India
63

64. Grand Plan For Digitalization Of
All India Radio
• There are plans to introduce DRM transmissions in 41
new medium wave DRM transmitters in replacement
scheme
• 36 existing medium wave transmitters shall be
converted for DRM operation
• 5 new shortwave transmitters shall be installed in
replacement scheme
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65. 65

66. The objective of radio broadcasting is to entertain, inform
and educate people. The developments in radio
technology are aimed at providing reliable, interference
free and high quality voice and music to the listener at
home or those moving in as wide area as possible. Rapid
technological developments in the areas of digital signal
processing and transmission, global cable networks and
satellite technology have made their way into radio
broadcasting. These factors have resulted in the
convergence of computing, telecommunication and
broadcasting. Voice and music can now be combined with
data and text for broadcasting.
Conclusion
66

67. Thank You
Meenakshi_singhvi@hotmail.com